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Subtle Varieties of Love within Cecil B. DeMille's Samson and Delilah (1949)
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EXPLORING THE SUBTLE VARIETIES OF LOVE WITHIN CECIL B. DeMILLE'S SAMSON AND DELILAH (1949) Introduction: Cecil's Samson SagaProducer-director(1) Cecil B. DeMille(2) (1881-1959), affectionately known as CB, was a co-founder of Hollywood, a progenitor of Paramount studio and an unsung auteur who helped turn an obscure Californian orange grove into a major movie centre that became the synonym for commercial filmmaking worldwide.(3) Not only did DeMille help institute "the Age of Hollywood" (Paglia 1994, 12), but this pioneering "auteur of auteurs" (Vidal 1995, 303) became the master of the American biblical epic with such indelible classics as The Ten Commandments (silent), The King of Kings, Samson and Delilah and The Ten Commandments (sound). Not surprisingly, he was subsequently tagged "King of the epic Biblical spectacular" (Finler 1985, 32), the "high priest of the religious genre" (Holloway 1977, 26) and the "arch apostle of spectacle" (Clapham 1974,...
Title: Subtle Varieties of Love within Cecil B. DeMille's Samson and Delilah (1949)
Description:
EXPLORING THE SUBTLE VARIETIES OF LOVE WITHIN CECIL B.
DeMILLE'S SAMSON AND DELILAH (1949) Introduction: Cecil's Samson SagaProducer-director(1) Cecil B.
DeMille(2) (1881-1959), affectionately known as CB, was a co-founder of Hollywood, a progenitor of Paramount studio and an unsung auteur who helped turn an obscure Californian orange grove into a major movie centre that became the synonym for commercial filmmaking worldwide.
(3) Not only did DeMille help institute "the Age of Hollywood" (Paglia 1994, 12), but this pioneering "auteur of auteurs" (Vidal 1995, 303) became the master of the American biblical epic with such indelible classics as The Ten Commandments (silent), The King of Kings, Samson and Delilah and The Ten Commandments (sound).
Not surprisingly, he was subsequently tagged "King of the epic Biblical spectacular" (Finler 1985, 32), the "high priest of the religious genre" (Holloway 1977, 26) and the "arch apostle of spectacle" (Clapham 1974,.
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